查询词典 dub in background music

The recovery of Chinese Buddhist music research began in 1980s, during this period more and more music scholars began to concern with the Buddhist music activities in the country and made fieldwork, record, notated and transcribed the music.

如胡耀的《佛教与音乐艺术》（1992），韩军的《五台山佛教音乐》（1993），尼树仁的《中州佛教音乐研究》（1994），田青的《中国宗教音乐》（1997），袁静芳的《中国佛教京音乐研究》（1997）、《中国汉传佛教音乐》（2004），王昆吾、何剑平的《汉文佛经中的音乐史料》（2002），杨民康的《贝叶礼赞》（2003），等等。

The second chapter probes into the way and feature of spreading on Gesar" s music, and the development and the changes of the music spreading since the involving of modern intermedium, by introducing the psalmodies in different categories. The third chapter analyses the types of Gesar" s lyrics and the patterns they could change. The forth chapter illustrates the principles of Gesar" s creating and several majority tone patterns are showed here. In the fifth chapter, the tones of Gesar are classified based on three aspects, that is, the tone" s name, utilization and the localstyles. In the sixth chapter, the feature of Gesar s tones is analyzed from the aspect of the characteristics of melody, the rhythm and time, the tone patterns and the music structure and so on. The last chapter discusses the forms of music performance and the methods that the psalmodies take to sing.

本文第一章从史诗《格萨尔》说唱结合艺术形式的产生与发展开始，对它的这种艺术形式中的说与唱分别做了介绍；第二章通过对《格萨尔》音乐创作主体——艺人的分类介绍，探讨了史诗音乐的传播方式、传播特点以及在现代传播媒介的介入下它的传播方式的发展与变化；第三章是对唱词体裁的分析和它的变化类型；第四章论述了音乐唱腔的创作原则以及几种最主要的唱腔类型；第五章从曲调的名称、曲调的运用以及地域风格特点三方面对《格萨尔》唱腔进行了分类；第六章结合谱例从旋律特征、节奏节拍、调式以及音乐结构等方面分析了《格萨尔》音乐唱腔的特点；第七章是对《格萨尔》音乐表演形式及艺人演唱方法的探讨。

The new year concerts of Vienna have been rebroadcasted for almost twenty years. The music of Johann Strauss family has widely been well known by the professional musicians and the music amateurs. Although there are some simply introductive and short articles about the operetta "Die Fledermaus" at present, the music analysis of Adele in the operetta "Die Fledermaus" and the research of role image building of her are scarce. The present paper try to not only deepen the understanding of the image of the classical character of Adele, but also help the recreation of the image, through the research and exploration about the music image building of Adele.

在中国，现场转播维也纳新年音乐会也已近20年，约翰·斯特劳斯家族的音乐已为音乐界内外的许多人们熟知，对于《蝙蝠》这部轻歌剧，目前国内已经有一些简单、介绍性的、篇幅短小的文章，而令人遗憾的是，《蝙蝠》中经典角色阿黛莉的音乐分析和角色形象塑造的研究则尚未见到，本文试图通过对阿黛莉这个角色的音乐形象塑造问题的研究探索，使我们对这个经典人物形象的认识更加深入，同时也有益于该形象的再创作。

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较，分析其对中国民族民间音乐的继承再现与发展；拿中外钢琴作品的曲式原则作横向比较，说明他借鉴但不照搬西方音乐曲式规范，重视但不拘泥于传统中国音乐结构方法，在作品的结构上，呈现出不拘一格的特点；拿中外钢琴作品在旋律、和声等方面作相异比较，指出了在探索多声部音乐的民族风格过程中，王建中一方面继承了传统音乐中旋律线条十分突出的特点，另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点，有意识地运用了我国民间多声手法，在和声的运用方面表现出灵活多样而又富于创新的特点。

You see that especially the pro-" and a "two-Taiwan" for the music tone, and in the narrative part of Hebei and learned the folk music of the material;"a new look to the motherland," the use of the Xinjiang Uygur music, and in the cavity source Also cleverly Roujin the Yi people in Yunnan folk song tone;"a good example to learn from Lei Feng", while China is old and the new Song of the Song of the inheritance and development;"Tibetan children miss Premier Zhou is the Tibetan 〔〕 Langma Fujian Key Nanqu〕 things both clever combination of music .......

如《看见你们格外亲》，是以&二人台&的音乐为基调，而在叙事部分又汲取了河北民间说唱音乐的素材；《祖国一片新面貌》运用了新疆地区维吾尔音乐节奏，而在腔出处又巧妙地揉进了云南彝族民歌音调；《学习雷锋好榜样》，则是中国旧军歌与新军歌的继承和发展；《藏族儿女怀念周总理》是藏族〔朗玛〕与福建〔南曲〕东西两地音乐的巧妙结合……。

Aim at these problems, the paper agued that we should grasp the meaning of creativity and build the all-around courses mode and optimize the music process, improve students' interests in music and grasp the aim of music education reform, in order to consummate our music education reform and exert its effect in training students' creativity.

针对这些问题，文章最后提出，我们应该通过正确把握创造力的内涵、建构综合性的课程模式、优化音乐过程，以此提高学生的音乐兴趣、把握住音乐教育改革的目的是素质教育这4个方面来完善我国的音乐教育改革，发挥音乐教育在培养学生创造方面的作用。

Aim at these problems, the paper agued that we should grasp the meaning of creativity and build the all-around courses mode and optimize the music process, improve students' interests in music and grasp the aim of music education reform, in order to consummate our music education reform and exert its effect in training students' creativity.

针对这些问题，文章最后提出，我们应该通过正确把握创造力的内涵、建构综合性的课程模式、优化音乐过程，以此提高学生的音乐兴趣、把握住音乐教育改革的目的是素质教育这四个方面来完善我国的音乐教育改革，发挥音乐教育在培养学生创造方面的作用。

These genres include: Art music, Popular music, Traditional music, Regional and national music, and fusions of those genres.

这些音乐流派包括：艺术音乐、流行音乐、传统音乐、地区和民族音乐以及这些音乐的融合。

I mean music performed for Broadway theater in the heart of New York city surely would seem to be in the western tradition of popular musicand not have much in common with the music we have been studying in this course, such as gamelan music of Indonesia, or Zulu chants of South Africa, music that developed outside the western tradition of Europe and America.

我的意思是，在纽约中心百老汇上演的音乐剧看上去一定是跟随西方音乐传统，而这不同于我们所学的欧洲和美洲传统之外的音乐，比如印尼的gamelan音乐，或南非Zulu族单调的口号。

For example: first, the vocal music teaching language should be exact and perspicuous; second, the vocal music teaching language should be wrought and concise; thirdly, the vocal music teaching language should be lively and visual. Moreover, a vocal music teacher should hammer-harden and accumulate his teaching language himself through teaching practice so as to make full use of teaching language and obtain perfect teaching purpose.

声乐教师在教学实践中要不断锤炼和积累自己的教学语言，以最大限度地发挥教学语言的作用，达到理想的教学效果。

Alternatively, the con- trollers can use the synchronous rectifier itself or loss- less inductor current-sensing methods to provide overload protection with lower power dissipation.

另外，康威特罗勒斯可以使用同步整流器本身或亏损减少电感电流检测方法，以提供低功耗过载保护。

Mr. Dauber's other Schatz hangs in his home movie studio.

多伯把沙兹的另一件作品挂在家里的电影室。